Proses Garap Karya Tari Laskar Rimung Rencong

Authors

DOI:

https://doi.org/10.24114/gjst.v15i2.73679

Keywords:

Laskar Rimung Rencong, Inong Balee, Elements of Dance

Abstract

This study aims to analyze the choreographic articulation and the formation of the dramatic structure in the dance piece "Laskar Rimung Rencong" through the integration of movement elements, music, as well as rencong (traditional dagger) and sampur (scarf) props as a form of representation of female warriors. The research methodology employs a qualitative method with an artistic research approach, following the dance creation steps outlined by Srihadi. This new creation dance is inspired by the bravery of Inong Balee—a warrior army of widows formed during the Aceh Sultanate under the leadership of Admiral Keumalahayati. The findings show that "Laskar Rimung Rencong" is performed by three female dancers, combining developed traditional Acehnese movements with traditional Surakarta-style dance, while utilizing rencong props and scarves integrated into the veil (kerudung). The performance is divided into three scenes symbolizing grief, awakening, training, and ultimate victory of the Acehnese female army. Through this work, the author represents historical values while providing motivation for women to become independent and courageous individuals.

References

Greget: Jurnal Kreativitas dan Studi Tari, 21(2), 204-214. https://doi.org/10.33153/grt.v21i2.5985

Atmadja, B. T. (2008). Gaya Tari S. Ngaliman Tjondropangrawit. Yogyakarta: Cipta Media.

Atmosiswartoputra, M. (2018). Perempuan-Perempuan Pengukir Sejarah. Jakarta: Bhuana Ilmu Populer.

Cufara, D. P., & Gusmanto, R. (2024). Bungong Rencong: Representation of the Fighting Spirit of Inong Balee in Aceh into Dance Creation. Gondang: Jurnal Seni dan Budaya, 8(2), 262-272. https://jurnal.unimed.ac.id/2012/index.php/GDG/article/view/63564

Hadi, Y. S. (2014). Koreografi: Bentuk-Teknik-Isi. Yogyakarta: Cipta Media.

Manalu, N. A., & Sukman, F. F. (2020). Tari Seudati Inong sebagai Wujud Representasi Kesetaraan Gender di Kabupaten Aceh Besar. Gorga: Jurnal Seni Rupa, 9(2), 367-376. https://doi.org/10.24114/gr.v9i2.20673

Maryono. (2010). Pragmatik Gendre Tari Pasihan Gaya Surakarta. Surakarta: ISI Press.

Maryono. (2015). Analisis Tari. Surakarta: ISI Press.

Maryono. (2023). Teori Estetika Nawasapada dalam Tari Gaya Surakarta. Surakarta: ISI Press.

Pramutomo, R. M., & Sriyadi. (2024). Studi Arsip dalam Etnokoreologi. Surakarta: ISI Press.

Soedarsono. (1977). Tari-Tarian Indonesia. Jakarta: Departemen Pendidikan dan Kebudayaan.

Soemaryatmi, & Supriyanto, E. (2024). Koreografi Konseptual. Surakarta: ISI Press.

Srihadi. (2020). Strategi Penciptaan Tari. Surakarta: ISI Press.

Supriyanto, E. (2018). Ikat Kait Impulsif Sarira: Gagasan yang Mewujud Era 1990-2010. Yogyakarta: Garudhawaca.

Supriyanto, E. (2021). Arsitektur Penciptaan dan Kompleksitas Strategi Penciptaan Tari. Senakreasi: Seminar Nasional Kreativitas dan Studi Seni, 3, 12-17. https://conference.isi-ska.ac.id/index.php/senakreasi/article/download/141/118/307

Thowok, D. N. (2012). Stage Make-Up by Didik Nini Thowok: Untuk Teater, Tari, dan Film. Jakarta: PT Gramedia Pustaka Utama.

Wahyudi, D. B. (2016). Keprajuritan Tari Surakarta II. Surakarta: ISI Press.

Wardani, D. S. (2025). TAN-SA-BAE [Skripsi Karya Seni]. Surakarta: Institut Seni Indonesia Surakarta.

Waryanti, S. (2013). Makna Rencong bagi Ureueng Aceh. Patanjala: Jurnal Penelitian Sejarah dan Budaya, 5(3), 369-382. https://doi.org/10.30959/patanjala.v5i3.136

Widyastutieningrum, S. R., & Wahyudiarto, D. (2014). Pengantar Koreografi. Surakarta: ISI Press.

Wiradiatna, A. (2024). Peran Laksamana Keumalahayati dalam Bidang Militer pada Masa Kesultanan Aceh Darussalam Tahun 1585-1604 [Skripsi]. Cirebon: UIN Siber Syekh Nurjati. https://repository.syekhnurjati.ac.id/14329/

Downloads

Published

2026-10-30